photo 1 midterm review 2014
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PHOTO 1MIDTERM REVIEW!
THESE TOPICS WILL BE ON THE EXAM & ARE
COVERED IN THIS REVIEW
1. Parts of the Camera
2. Shutter speed3. Aperture4. Depth of field5. Light metering6. Bracketing
7. Equivalent exposures8. Easels9. Parts of the enlarger10. Processing film11. Darkroom chemistry12. Principles of
Composition
parts of the camera
1. 2.
3. 4.
5.
6.
1. 2.
3. 4.
5.
6.
film advance lever
1. 2.
3. 4.
5.
6.
film advance lever shutter speed dial
1. 2.
3. 4.
5.
6.
film advance lever shutter speed dial
shutter release button
1. 2.
3. 4.
5.
6.
film advance lever shutter speed dial
shutter release button
film rewind
1. 2.
3. 4.
5.
6.
film advance lever shutter speed dial
shutter release button
film rewind
aperture ring
1. 2.
3. 4.
5.
6.
film advance lever shutter speed dial
shutter release button
film rewind
aperture ring
lens
7.
8. 9.
10.11.
12.
7.
8. 9.
10.11.
12.
viewfinder
7.
8. 9.
10.11.
12.
viewfinder
take up spool
7.
8. 9.
10.11.
12.
viewfinder
take up spool camera back
7.
8. 9.
10.11.
12.
viewfinder
take up spool camera back
shutter
7.
8. 9.
10.11.
12.
viewfinder
take up spool camera back
shuttertripod mount
7.
8. 9.
10.11.
12.
viewfinder
take up spool camera back
shuttertripod mount
rewind release button
shutter speed
What is this?
What is this?shutter speed dial
What is this?
What does it do?
shutter speed dial
What is this?
What does it do?
shutter speed dial
controls how long the shutter is open - in fractions of a second
What is this?
What does it do?
What does shutter speed TECHNICALLY control in your photograph?
shutter speed dial
controls how long the shutter is open - in fractions of a second
What is this?
What does it do?
What does shutter speed TECHNICALLY control in your photograph?
shutter speed dial
controls how long the shutter is open - in fractions of a second
how long the shutter is open - how much LIGHT gets in
What is this?
What does it do?
What does shutter speed TECHNICALLY control in your photograph?
What does shutter speed CREATIVELY control in your photograph?
shutter speed dial
controls how long the shutter is open - in fractions of a second
how long the shutter is open - how much LIGHT gets in
What is this?
What does it do?
What does shutter speed TECHNICALLY control in your photograph?
What does shutter speed CREATIVELY control in your photograph?
shutter speed dial
controls how long the shutter is open - in fractions of a second
how long the shutter is open - how much LIGHT gets in
a sense of MOVEMENT or MOTION
What does the “B” stand for?
What does the “B” stand for?“bulb”
What does the “B” stand for?
What does it do?
“bulb”
What does the “B” stand for?
What does it do?
“bulb”
lets you have complete control over shutter speed
What does the “B” stand for?
What does it do?
“bulb”
lets you have complete control over shutter speed
How?
What does the “B” stand for?
What does it do?
“bulb”
lets you have complete control over shutter speed
press the shutter release once to open the shutter, then a second time to close it
How?
What does the “B” stand for?
What does it do?
When would you use this?
“bulb”
lets you have complete control over shutter speed
press the shutter release once to open the shutter, then a second time to close it
How?
What does the “B” stand for?
What does it do?
When would you use this?
“bulb”
lets you have complete control over shutter speed
if you want a REALLY long exposure time - maybe to show city lights at night, or the movement of water over a long period of time, etc.
press the shutter release once to open the shutter, then a second time to close it
How?
What is this?
What is this?a tripod
What is this?a tripod
When do you use this?
What is this?a tripod
When do you use this?
at shutter speeds of 1/60 or below
What is this?a tripod
When do you use this?
at shutter speeds of 1/60 or below
What happens if you don’t?
What is this?a tripod
When do you use this?
at shutter speeds of 1/60 or below
What happens if you don’t?it will be blurry and you will be disappointed. I promise.
If you wanted to take a picture of a running man so that the action would be “frozen” - what shutter speed might you try?
If you wanted to take a picture of a running man so that the action would be “frozen” - what shutter speed might you try?
1/1000
What if you wanted to “show movement” - how would you do that?
What if you wanted to “show movement” - how would you do that? the slower the better - try at least 1 second
if possible (movement will look blurred)
You can also show movement using “panning” - what is panning?
You can also show movement using “panning” - what is panning? using a slow shutter speed (1/30 or below), move
(“pan”) your camera to follow the moving subject as you take the picture
aperture
What is this?
aperture ringWhat is this?
What does it do?aperture ring
What is this?
What does it do?aperture ring
controls the size of the aperture, measured in ƒ-stops
What is this?
What does it do?aperture ring
controls the size of the aperture, measured in ƒ-stops
What is this?
A low ƒ-stop number = a _______ size aperture.
What does it do?aperture ring
controls the size of the aperture, measured in ƒ-stops
What is this?
A low ƒ-stop number = a _______ size aperture. LARGE
What does it do?
What does aperture size TECHNICALLY control in your photograph?
aperture ring
controls the size of the aperture, measured in ƒ-stops
What is this?
A low ƒ-stop number = a _______ size aperture. LARGE
What does it do?
What does aperture size TECHNICALLY control in your photograph?
aperture ring
controls the size of the aperture, measured in ƒ-stops
how large an aperture - how much LIGHT gets in
What is this?
A low ƒ-stop number = a _______ size aperture. LARGE
What does it do?
What does aperture size TECHNICALLY control in your photograph?
What does aperture size CREATIVELY control in your photograph?
aperture ring
controls the size of the aperture, measured in ƒ-stops
how large an aperture - how much LIGHT gets in
What is this?
A low ƒ-stop number = a _______ size aperture. LARGE
What does it do?
What does aperture size TECHNICALLY control in your photograph?
What does aperture size CREATIVELY control in your photograph?
aperture ring
controls the size of the aperture, measured in ƒ-stops
how large an aperture - how much LIGHT gets in
DEPTH OF FIELD
What is this?
A low ƒ-stop number = a _______ size aperture. LARGE
depth of field
Depth of Field
ƒ/16
ƒ/2
ƒ/8
Depth of Field
ƒ/16
ƒ/2
ƒ/8
• the “wall of focus”
Depth of Field
ƒ/16
ƒ/2
ƒ/8
• the “wall of focus”• how much (forwards and backwards of your subject)
of your image will be in focus
Depth of Field
Depth of Field
Depth of Field
If you want a great depth of field, what size aperture should you use?
Depth of Field
If you want a great depth of field, what size aperture should you use? SMALL
Depth of Field
If you want a great depth of field, what size aperture should you use?
Such as?
SMALL
Depth of Field
ƒ/16
If you want a great depth of field, what size aperture should you use?
Such as?
SMALL
Depth of Field
ƒ/16
If you want a great depth of field, what size aperture should you use?
Such as?
SMALL
Depth of Field
ƒ/16
If you want a great depth of field, what size aperture should you use?
If you want a shallow depth of field, what size aperture should you use?
Such as?
SMALL
Depth of Field
ƒ/16
If you want a great depth of field, what size aperture should you use?
If you want a shallow depth of field, what size aperture should you use?
Such as?
SMALL
LARGE
Depth of Field
ƒ/16
If you want a great depth of field, what size aperture should you use?
If you want a shallow depth of field, what size aperture should you use?
Such as?
Such as?
SMALL
LARGE
Depth of Field
ƒ/16
ƒ/2
If you want a great depth of field, what size aperture should you use?
If you want a shallow depth of field, what size aperture should you use?
Such as?
Such as?
SMALL
LARGE
light metering
Remember that your camera’s ROBOT EYE (a.k.a. the light meter/sensor) is not smart enough to guess how you want the picture to come out.
Remember that your camera’s ROBOT EYE (a.k.a. the light meter/sensor) is not smart enough to guess how you want the picture to come out.
HEY! I’m standing right
here!
Remember that your camera’s ROBOT EYE (a.k.a. the light meter/sensor) is not smart enough to guess how you want the picture to come out.
HEY! I’m standing right
here!
Meter directly from your subject. It’s a good idea to get UNCOMFORTABLY CLOSE to your subject, meter, then back up and re-compose the frame. This is always important - but especially if your subject is backlit (has a strong source of light coming from behind it.)
bracketing
What is bracketing?
What is bracketing?taking the same photograph at different exposures
Why would you do this?
What is bracketing?taking the same photograph at different exposures
Why would you do this?
What is bracketing?taking the same photograph at different exposures
to make sure you get a good exposure - especially in situations that are challenging to meter, or for photographs that are really important to you
Why would you do this?
What is bracketing?taking the same photograph at different exposures
to make sure you get a good exposure - especially in situations that are challenging to meter, or for photographs that are really important to you
How do you bracket?
Why would you do this?
What is bracketing?taking the same photograph at different exposures
to make sure you get a good exposure - especially in situations that are challenging to meter, or for photographs that are really important to you
How do you bracket?1. light meter
Why would you do this?
What is bracketing?taking the same photograph at different exposures
to make sure you get a good exposure - especially in situations that are challenging to meter, or for photographs that are really important to you
How do you bracket?1. light meter
2. choose which setting you want to “keep” (aperture or shutter speed)
Why would you do this?
What is bracketing?taking the same photograph at different exposures
to make sure you get a good exposure - especially in situations that are challenging to meter, or for photographs that are really important to you
How do you bracket?1. light meter
2. choose which setting you want to “keep” (aperture or shutter speed)
3. identify the 3 settings you will use when bracketing (the one directly across from the “keep,” and also “one up” and “one down”.)
Why would you do this?
What is bracketing?taking the same photograph at different exposures
to make sure you get a good exposure - especially in situations that are challenging to meter, or for photographs that are really important to you
How do you bracket?1. light meter
2. choose which setting you want to “keep” (aperture or shutter speed)
3. identify the 3 settings you will use when bracketing (the one directly across from the “keep,” and also “one up” and “one down”.)
4. take the three photographs
How do you bracket?
How do you bracket?
How do you bracket?1. light meter
How do you bracket?1. light meter
250
ƒ/8
How do you bracket?1. light meter
250
ƒ/8
2. choose which setting you want to “keep” (aperture or shutter speed)
How do you bracket?1. light meter
250
ƒ/8
2. choose which setting you want to “keep” (aperture or shutter speed)
How do you bracket?1. light meter
250
ƒ/8
2. choose which setting you want to “keep” (aperture or shutter speed)
3. identify the 3 settings you will use when bracketing (the one directly across from the “keep,” and also “one up” and “one down”.)
How do you bracket?1. light meter
250
ƒ/8
2. choose which setting you want to “keep” (aperture or shutter speed)
3. identify the 3 settings you will use when bracketing (the one directly across from the “keep,” and also “one up” and “one down”.)
500
How do you bracket?1. light meter
250
ƒ/8
2. choose which setting you want to “keep” (aperture or shutter speed)
3. identify the 3 settings you will use when bracketing (the one directly across from the “keep,” and also “one up” and “one down”.)
500 125
How do you bracket?1. light meter
250
ƒ/8
2. choose which setting you want to “keep” (aperture or shutter speed)
3. identify the 3 settings you will use when bracketing (the one directly across from the “keep,” and also “one up” and “one down”.)
4. take the three photographs
500 125
How do you bracket?1. light meter
250
ƒ/8
2. choose which setting you want to “keep” (aperture or shutter speed)
3. identify the 3 settings you will use when bracketing (the one directly across from the “keep,” and also “one up” and “one down”.)
4. take the three photographs
500 125
ƒ/8 at 1/500 ƒ/8 at 250 ƒ/8 at 125
equivalent exposures
Equivalent Exposures
What are “equivalent exposures”?
Equivalent Exposures
What are “equivalent exposures”?different combinations of aperture/shutter speed settings that give you the same exposure (range of light/dark values)
Equivalent Exposures
What are “equivalent exposures”?different combinations of aperture/shutter speed settings that give you the same exposure (range of light/dark values)
Why do they matter?
Equivalent Exposures
What are “equivalent exposures”?different combinations of aperture/shutter speed settings that give you the same exposure (range of light/dark values)
Why do they matter?• to help you make use of your CREATIVE controls
(depth of field and the sense of movement) while still getting a properly exposed image
Equivalent Exposures
What are “equivalent exposures”?different combinations of aperture/shutter speed settings that give you the same exposure (range of light/dark values)
Why do they matter?• to help you make use of your CREATIVE controls
(depth of field and the sense of movement) while still getting a properly exposed image
• to help you NOT use a tripod but still get a clear and properly exposed image
Equivalent Exposures
USING Equivalent Exposures
Let’s say you are asked to shoot a photograph of a pinwheel in motion, for the “OMG it’s SPRING!!!” issue of a local magazine.
USING Equivalent Exposures
Let’s say you are asked to shoot a photograph of a pinwheel in motion, for the “OMG it’s SPRING!!!” issue of a local magazine.
You find a pinwheel that is moving, and your camera’s light meter tells you that you should use 1/500 and ƒ/2. This is the picture you get:
USING Equivalent Exposures
Let’s say you are asked to shoot a photograph of a pinwheel in motion, for the “OMG it’s SPRING!!!” issue of a local magazine.
You find a pinwheel that is moving, and your camera’s light meter tells you that you should use 1/500 and ƒ/2. This is the picture you get:
USING Equivalent Exposures
Let’s say you are asked to shoot a photograph of a pinwheel in motion, for the “OMG it’s SPRING!!!” issue of a local magazine.
You find a pinwheel that is moving, and your camera’s light meter tells you that you should use 1/500 and ƒ/2. This is the picture you get:
USING Equivalent Exposures
ƒ/2 and 1/500 sec
Let’s say you are asked to shoot a photograph of a pinwheel in motion, for the “OMG it’s SPRING!!!” issue of a local magazine.
You find a pinwheel that is moving, and your camera’s light meter tells you that you should use 1/500 and ƒ/2. This is the picture you get:
USING Equivalent Exposures
ƒ/2 and 1/500 sec
You’re really happy with the exposure (the range of light and dark values) but it totally doesn’t show motion. Like at all.
Let’s say you are asked to shoot a photograph of a pinwheel in motion, for the “OMG it’s SPRING!!!” issue of a local magazine.
You find a pinwheel that is moving, and your camera’s light meter tells you that you should use 1/500 and ƒ/2. This is the picture you get:
USING Equivalent Exposures
ƒ/2 and 1/500 sec
You’re really happy with the exposure (the range of light and dark values) but it totally doesn’t show motion. Like at all.
What should you do?
USING Equivalent Exposures
USING Equivalent Exposures
ƒ/2 and 1/500 sec
USING Equivalent Exposures
ƒ/2 and 1/500 sec
What setting was responsible for “freezing” the motion of the moving pinwheel?
USING Equivalent Exposures
ƒ/2 and 1/500 sec
What setting was responsible for “freezing” the motion of the moving pinwheel? shutter speed
USING Equivalent Exposures
ƒ/2 and 1/500 sec
What setting was responsible for “freezing” the motion of the moving pinwheel? shutter speed
What could you do to create the sense of motion in your photograph?
USING Equivalent Exposures
ƒ/2 and 1/500 sec
What setting was responsible for “freezing” the motion of the moving pinwheel? shutter speed
What could you do to create the sense of motion in your photograph?
lower the shutter speed
Since you got the EXPOSURE right, that means you’re happy with the relationship between your settings, you just need to use the lowest possible shutter speed you can.
USING Equivalent Exposures
ƒ/2 and 1/500 sec
What setting was responsible for “freezing” the motion of the moving pinwheel? shutter speed
What could you do to create the sense of motion in your photograph?
lower the shutter speed
Since you got the EXPOSURE right, that means you’re happy with the relationship between your settings, you just need to use the lowest possible shutter speed you can.
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2 and 1/500 sec
What setting was responsible for “freezing” the motion of the moving pinwheel? shutter speed
What could you do to create the sense of motion in your photograph?
lower the shutter speed
USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
500
ƒ/2
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
250500
ƒ/2
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
250 125500
ƒ/2
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
250 125 60500
ƒ/2
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
250 125 60 30500
ƒ/2
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
250 125 60 30 15500
ƒ/2
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
250 125 60 30 15 8500
ƒ/2
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
250 125 60 30 15 8500
ƒ/2
4
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
1000 250 125 60 30 15 8500
ƒ/2
4
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
1000 250 125 60 30 15 8
x
500
ƒ/2
4
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
1000 250 125 60 30 15 8
x
500
ƒ/2 ƒ/2.8
4
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
1000 250 125 60 30 15 8
x
500
ƒ/2 ƒ/2.8 ƒ/4
4
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
1000 250 125 60 30 15 8
x
500
ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6
4
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
1000 250 125 60 30 15 8
x
500
ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8
4
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
1000 250 125 60 30 15 8
x
500
ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11
4
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
1000 250 125 60 30 15 8
x
500
ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16
4
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
1000 250 125 60 30 15 8
x
500
ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16
4
ƒ/22
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
1000 250 125 60 30 15 8
x
500
ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16
4
ƒ/22
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
1000 250 125 60 30 15 8
x
500
ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16
4
ƒ/22
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
1000 250 125 60 30 15 8
x
500
ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16
ƒ/224
4
ƒ/22
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
1000 250 125 60 30 15 8
x
500
ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16
ƒ/224
4
ƒ/22
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
1000 250 125 60 30 15 8
x
500
ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16
ƒ/224
4
ƒ/22
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
1000 250 125 60 30 15 8
x
500
ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16
ƒ/224
4
ƒ/22
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
1000 250 125 60 30 15 8
x
500
ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16
ƒ/224
these images areequivalent exposures
4
ƒ/22
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
1000 250 125 60 30 15 8
x
500
ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16
ƒ/224
these images areequivalent exposures
4
ƒ/22
Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
USING Equivalent Exposures
ƒ/2500
1000 250 125 60 30 15 8
x
500
ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16
ƒ/224
these images areequivalent exposures
USE ATRIPOD
4
ƒ/22
the easels
Easels
Easels
This is a ________ easel.
Easels
This is a ________ easel.CONTACT
Easels
This is a ________ easel.
It is used when making:
CONTACT
Easels
This is a ________ easel.
It is used when making:• contact sheets
CONTACT
Easels
This is a ________ easel.
It is used when making:• contact sheets• pinhole positives
CONTACT
Easels
This is a ________ easel.
It is used when making:• contact sheets• pinhole positives• collage negatives
CONTACT
Easels
This is a ________ easel.
It is used when making:• contact sheets• pinhole positives• collage negatives• photograms
CONTACT
Easels
This is a ________ easel.
It is used when making:• contact sheets• pinhole positives• collage negatives• photograms
CONTACT
Easels
This is a ________ easel.
It is used when making:• contact sheets• pinhole positives• collage negatives• photograms
CONTACT
This is a __________________ easel.
Easels
This is a ________ easel.
It is used when making:• contact sheets• pinhole positives• collage negatives• photograms
CONTACT
This is a __________________ easel.PRINTING / MASKING
Easels
This is a ________ easel.
It is used when making:• contact sheets• pinhole positives• collage negatives• photograms
CONTACT
This is a __________________ easel.PRINTING / MASKING
It is used when making:
Easels
This is a ________ easel.
It is used when making:• contact sheets• pinhole positives• collage negatives• photograms
CONTACT
This is a __________________ easel.PRINTING / MASKING
It is used when making:• enlargements from negatives
Easels
This is a ________ easel.
It is used when making:• contact sheets• pinhole positives• collage negatives• photograms
CONTACT
This is a __________________ easel.PRINTING / MASKING
It is used when making:• enlargements from negatives
It helps your prints have:
Easels
This is a ________ easel.
It is used when making:• contact sheets• pinhole positives• collage negatives• photograms
CONTACT
This is a __________________ easel.PRINTING / MASKING
It is used when making:• enlargements from negatives
It helps your prints have:• neat, white borders
Easels
This is a ________ easel.
It is used when making:• contact sheets• pinhole positives• collage negatives• photograms
CONTACT
This is a __________________ easel.PRINTING / MASKING
It is used when making:• enlargements from negatives
It helps your prints have:• neat, white borders• regular sizes
parts of the enlarger
Parts of the Enlarger
Parts of the Enlarger
Parts of the Enlarger
lamphouse {
Parts of the Enlarger
lamphouse {
Parts of the Enlarger
lamphouse {
Parts of the Enlarger
lamphouse {
bellows {
Parts of the Enlarger
lamphouse {
bellows {
Parts of the Enlarger
lamphouse {
bellows {
Parts of the Enlarger
lamphouse {
bellows {lens
Parts of the Enlarger
lamphouse {
bellows {lens
Parts of the Enlarger
lamphouse {
bellows {negative carrier
goes here
lens
Parts of the Enlarger
lamphouse {
bellows {negative carrier
goes here
easel goes here
lens
Parts of the Enlarger
lamphouse {
bellows {negative carrier
goes here
easel goes here
lens
(but which easel??)
Parts of the Enlarger
lamphouse {
bellows {negative carrier
goes here
easel goes here
lens
(but which easel??)
Parts of the Enlarger
lamphouse {
bellows {negative carrier
goes here
height adjustmentknob
easel goes here
lens
(but which easel??)
Parts of the Enlarger
lamphouse {
bellows {negative carrier
goes here
height adjustmentknob
moves EVERYTHINGup and down
easel goes here
lens
(but which easel??)
Parts of the Enlarger
lamphouse {
bellows {negative carrier
goes here
height adjustmentknob
moves EVERYTHINGup and down
easel goes here
lens
(but which easel??)
Parts of the Enlarger
lamphouse {
bellows {negative carrier
goes here
height adjustmentknob
moves EVERYTHINGup and down
easel goes here
lens
(but which easel??)
Parts of the Enlarger
lamphouse {
bellows {negative carrier
goes here
height adjustmentknob
fine focus
moves EVERYTHINGup and down
easel goes here
lens
(but which easel??)
Parts of the Enlarger
lamphouse {
bellows {negative carrier
goes here
height adjustmentknob
fine focusmoves the bellows
up and down
moves EVERYTHINGup and down
easel goes here
lens
(but which easel??)
Parts of the Enlarger
lamphouse {
bellows {negative carrier
goes here
height adjustmentknob
fine focusmoves the bellows
up and down
moves EVERYTHINGup and down
easel goes here
lens
(but which easel??)
Parts of the Enlarger
lamphouse {
bellows {negative carrier
goes here
height adjustmentknob
fine focusmoves the bellows
up and down
moves EVERYTHINGup and down
easel goes here
lens
(but which easel??)
Parts of the Enlarger
lamphouse {
bellows {negative carrier
goes here
height adjustmentknob
fine focusmoves the bellows
up and down
moves EVERYTHINGup and down
easel goes here
grain focuser
lens
(but which easel??)
Parts of the Enlarger
lamphouse {
bellows {negative carrier
goes here
height adjustmentknob
fine focusmoves the bellows
up and down
moves EVERYTHINGup and down
easel goes here
grain focuser
lens
(but which easel??)
Parts of the Enlarger
lamphouse {
bellows {negative carrier
goes here
height adjustmentknob
fine focusmoves the bellows
up and down
moves EVERYTHINGup and down
easel goes here
grain focuserused to get the sharpest possible print
lens
(but which easel??)
Parts of the Enlarger
lamphouse {
bellows {negative carrier
goes here
height adjustmentknob
fine focusmoves the bellows
up and down
moves EVERYTHINGup and down
easel goes here
grain focuserused to get the sharpest possible print
lens
(but which easel??)
Parts of the Enlarger
lamphouse {
bellows {negative carrier
goes here
height adjustmentknob
fine focusmoves the bellows
up and down
moves EVERYTHINGup and down
easel goes here
grain focuserused to get the sharpest possible print
lens
(but which easel??)
processing film
Loading Your Film:What goes into the changing bag?
Loading Your Film:What goes into the changing bag?
• tank (including lid & post)
Loading Your Film:What goes into the changing bag?
• tank (including lid & post)
Loading Your Film:What goes into the changing bag?
• tank (including lid & post)• 2 reels
Loading Your Film:What goes into the changing bag?
• tank (including lid & post)• 2 reels
Loading Your Film:What goes into the changing bag?
• tank (including lid & post)• 2 reels• can opener
Loading Your Film:What goes into the changing bag?
• tank (including lid & post)• 2 reels• can opener
Loading Your Film:What goes into the changing bag?
• tank (including lid & post)• 2 reels• can opener
• your film
Loading Your Film:What goes into the changing bag?
• tank (including lid & post)• 2 reels• can opener
• your film
Processing Your Film (the SUPER condensed version)
Processing Your Film (the SUPER condensed version)
1. Water Rinse
Processing Your Film (the SUPER condensed version)
1. Water Rinse
2. Developer
Processing Your Film (the SUPER condensed version)
1. Water Rinse
2. Developer
3. Stop Bath
Processing Your Film (the SUPER condensed version)
1. Water Rinse
2. Developer
3. Stop Bath
4. Fixer
Processing Your Film (the SUPER condensed version)
1. Water Rinse
2. Developer
3. Stop Bath
4. Fixer
5. Water Rinse
Processing Your Film (the SUPER condensed version)
1. Water Rinse
2. Developer
3. Stop Bath
4. Fixer
5. Water Rinse
6. Perma Wash
Processing Your Film (the SUPER condensed version)
1. Water Rinse
2. Developer
3. Stop Bath
4. Fixer
5. Water Rinse
6. Perma Wash
7. Water Rinse
Processing Your Film (the SUPER condensed version)
1. Water Rinse
2. Developer
3. Stop Bath
4. Fixer
5. Water Rinse
6. Perma Wash
7. Water Rinse
8. Photo Flo
Processing Your Film (the SUPER condensed version)
1. Water Rinse
2. Developer
3. Stop Bath
4. Fixer
5. Water Rinse
6. Perma Wash
7. Water Rinse
8. Photo Flo
cleans off dust
Processing Your Film (the SUPER condensed version)
1. Water Rinse
2. Developer
3. Stop Bath
4. Fixer
5. Water Rinse
6. Perma Wash
7. Water Rinse
8. Photo Flo
cleans off dustoxidizes the silver that got exposed to light (makes it dark!) - dependent on TIME and TEMPERATURE
Processing Your Film (the SUPER condensed version)
1. Water Rinse
2. Developer
3. Stop Bath
4. Fixer
5. Water Rinse
6. Perma Wash
7. Water Rinse
8. Photo Flo
cleans off dustoxidizes the silver that got exposed to light (makes it dark!) - dependent on TIME and TEMPERATURE
stops the developing process
Processing Your Film (the SUPER condensed version)
1. Water Rinse
2. Developer
3. Stop Bath
4. Fixer
5. Water Rinse
6. Perma Wash
7. Water Rinse
8. Photo Flo
cleans off dustoxidizes the silver that got exposed to light (makes it dark!) - dependent on TIME and TEMPERATURE
stops the developing processremoves unexposed silver from the film (allows there to be clear / light areas in your negatives!) don’t pour it down the drain!
Processing Your Film (the SUPER condensed version)
1. Water Rinse
2. Developer
3. Stop Bath
4. Fixer
5. Water Rinse
6. Perma Wash
7. Water Rinse
8. Photo Flo
cleans off dustoxidizes the silver that got exposed to light (makes it dark!) - dependent on TIME and TEMPERATURE
stops the developing processremoves unexposed silver from the film (allows there to be clear / light areas in your negatives!) don’t pour it down the drain!
cleans off chemicals
Processing Your Film (the SUPER condensed version)
1. Water Rinse
2. Developer
3. Stop Bath
4. Fixer
5. Water Rinse
6. Perma Wash
7. Water Rinse
8. Photo Flo
cleans off dustoxidizes the silver that got exposed to light (makes it dark!) - dependent on TIME and TEMPERATURE
stops the developing processremoves unexposed silver from the film (allows there to be clear / light areas in your negatives!) don’t pour it down the drain!
cleans off chemicals
cleans off fixer even more
Processing Your Film (the SUPER condensed version)
1. Water Rinse
2. Developer
3. Stop Bath
4. Fixer
5. Water Rinse
6. Perma Wash
7. Water Rinse
8. Photo Flo
cleans off dustoxidizes the silver that got exposed to light (makes it dark!) - dependent on TIME and TEMPERATURE
stops the developing processremoves unexposed silver from the film (allows there to be clear / light areas in your negatives!) don’t pour it down the drain!
cleans off chemicals
cleans off fixer even more
cleans off Perma Wash
Processing Your Film (the SUPER condensed version)
1. Water Rinse
2. Developer
3. Stop Bath
4. Fixer
5. Water Rinse
6. Perma Wash
7. Water Rinse
8. Photo Flo
cleans off dustoxidizes the silver that got exposed to light (makes it dark!) - dependent on TIME and TEMPERATURE
stops the developing processremoves unexposed silver from the film (allows there to be clear / light areas in your negatives!) don’t pour it down the drain!
cleans off chemicals
cleans off fixer even more
cleans off Perma Wash
prevents water spots, protects negatives
darkroom chemistry
sink
sink
sink
developer
sink
developer
sink
stop bath developer
sink
stop bath developer
sink
fixer stop bath developer
sink
fixer stop bath developer
sink
water fixer stop bath developer
sink
water fixer stop bath developer
what do I do?
sink
water fixer stop bath developer
what do I do? develops the paper(oxidizes silver)(pH 11 or 12 = base)
sink
water fixer stop bath developer
what do I do? develops the paper(oxidizes silver)(pH 11 or 12 = base)
stops thedeveloping(low pH = acid, neutralizes the
developer)
sink
water fixer stop bath developer
what do I do? develops the paper(oxidizes silver)(pH 11 or 12 = base)
stops thedeveloping(low pH = acid, neutralizes the
developer)
stabilizesthe image
(removes unexposed silver from the paper)
sink
water fixer stop bath developer
what do I do? develops the paper(oxidizes silver)(pH 11 or 12 = base)
stops thedeveloping(low pH = acid, neutralizes the
developer)
stabilizesthe image
(removes unexposed silver from the paper)
cleans the print(washes off all the chemicals)
sink
water fixer stop bath developer
what do I do? develops the paper(oxidizes silver)(pH 11 or 12 = base)
stops thedeveloping(low pH = acid, neutralizes the
developer)
stabilizesthe image
(removes unexposed silver from the paper)
cleans the print(washes off all the chemicals)
I should be replaced when...
sink
water fixer stop bath developer
what do I do? develops the paper(oxidizes silver)(pH 11 or 12 = base)
stops thedeveloping(low pH = acid, neutralizes the
developer)
stabilizesthe image
(removes unexposed silver from the paper)
cleans the print(washes off all the chemicals)
I should be replaced when... if I am starting to turn a
red / orangish color
sink
water fixer stop bath developer
what do I do? develops the paper(oxidizes silver)(pH 11 or 12 = base)
stops thedeveloping(low pH = acid, neutralizes the
developer)
stabilizesthe image
(removes unexposed silver from the paper)
cleans the print(washes off all the chemicals)
I should be replaced when...
if I am a darkpurple color
if I am starting to turn a red / orangish color
sink
water fixer stop bath developer
what do I do? develops the paper(oxidizes silver)(pH 11 or 12 = base)
stops thedeveloping(low pH = acid, neutralizes the
developer)
stabilizesthe image
(removes unexposed silver from the paper)
cleans the print(washes off all the chemicals)
I should be replaced when...
if I get cloudy whenyou drip hypo check in
if I am a darkpurple color
if I am starting to turn a red / orangish color
sink
water fixer stop bath developer
what do I do? develops the paper(oxidizes silver)(pH 11 or 12 = base)
stops thedeveloping(low pH = acid, neutralizes the
developer)
stabilizesthe image
(removes unexposed silver from the paper)
cleans the print(washes off all the chemicals)
I should be replaced when... N/A if I get cloudy when
you drip hypo check inif I am a darkpurple color
if I am starting to turn a red / orangish color
principles of composition
snapshot vs. composedand
What is the difference between a snapshot and a composed photograph?
What is the difference between a snapshot and a composed photograph?
Snapshot
What is the difference between a snapshot and a composed photograph?
Snapshot• A casual record of some event, person, object or place.
What is the difference between a snapshot and a composed photograph?
Snapshot• A casual record of some event, person, object or place.
• Usually a very quick response to a situation.
What is the difference between a snapshot and a composed photograph?
Snapshot• A casual record of some event, person, object or place.
• Usually a very quick response to a situation.
• Unorganized, no attention has been paid to details.
What is the difference between a snapshot and a composed photograph?
Snapshot• A casual record of some event, person, object or place.
• Usually a very quick response to a situation.
• Unorganized, no attention has been paid to details.
• Only the photographer has an emotional connection to the photo
What is the difference between a snapshot and a composed photograph?
Snapshot• A casual record of some event, person, object or place.
• Usually a very quick response to a situation.
• Unorganized, no attention has been paid to details.
• Only the photographer has an emotional connection to the photo
vs. Composed Photograph
What is the difference between a snapshot and a composed photograph?
Snapshot• A casual record of some event, person, object or place.
• Usually a very quick response to a situation.
• Unorganized, no attention has been paid to details.
• Only the photographer has an emotional connection to the photo
vs. Composed Photograph • An artistic interpretation of an event, person, object, or place.
What is the difference between a snapshot and a composed photograph?
Snapshot• A casual record of some event, person, object or place.
• Usually a very quick response to a situation.
• Unorganized, no attention has been paid to details.
• Only the photographer has an emotional connection to the photo
vs. Composed Photograph • An artistic interpretation of an event, person, object, or place.
• A process where care is taken to consider the elements and principles that exist within the frame of the composition.
What is the difference between a snapshot and a composed photograph?
Snapshot• A casual record of some event, person, object or place.
• Usually a very quick response to a situation.
• Unorganized, no attention has been paid to details.
• Only the photographer has an emotional connection to the photo
vs. Composed Photograph • An artistic interpretation of an event, person, object, or place.
• A process where care is taken to consider the elements and principles that exist within the frame of the composition.
• Organized frame, where attention has been paid to expressing an emotion or telling the viewer something about its subject.
What is the difference between a snapshot and a composed photograph?
Snapshot• A casual record of some event, person, object or place.
• Usually a very quick response to a situation.
• Unorganized, no attention has been paid to details.
• Only the photographer has an emotional connection to the photo
vs. Composed Photograph • An artistic interpretation of an event, person, object, or place.
• A process where care is taken to consider the elements and principles that exist within the frame of the composition.
• Organized frame, where attention has been paid to expressing an emotion or telling the viewer something about its subject.
• A universal appeal or sense of interest - ability to connect to many viewers
Principles of Photographic Composition
Principles of Photographic Composition
1. Light
Principles of Photographic Composition
1. Light2. Rule of Thirds
Principles of Photographic Composition
1. Light2. Rule of Thirds3. Using the Edges of the Frame
Principles of Photographic Composition
1. Light2. Rule of Thirds3. Using the Edges of the Frame4. Frame Within a Frame
Principles of Photographic Composition
1. Light2. Rule of Thirds3. Using the Edges of the Frame4. Frame Within a Frame5. Line
Principles of Photographic Composition
1. Light2. Rule of Thirds3. Using the Edges of the Frame4. Frame Within a Frame5. Line6. Point of View
Principles of Photographic Composition
1. Light2. Rule of Thirds3. Using the Edges of the Frame4. Frame Within a Frame5. Line6. Point of View7. Fill the Frame / Cropping
Principles of Photographic Composition
1. Light2. Rule of Thirds3. Using the Edges of the Frame4. Frame Within a Frame5. Line6. Point of View7. Fill the Frame / Cropping8. Pattern / Texture
Principles of Photographic Composition:
LIGHT
Principles of Photographic Composition:
RULE OF THIRDS
Principles of Photographic Composition:
RULE OF THIRDS
Principles of Photographic Composition:
USING THE EDGES OF THE FRAME
Principles of Photographic Composition:
FRAME WITHIN A FRAME
Principles of Photographic Composition:
LINE
Principles of Photographic Composition:
POINT OF VIEW
Principles of Photographic Composition:
FILL THE FRAME / CROPPING
Principles of Photographic Composition:
PATTERN / TEXTURE
THE END!email me with any questions you might have!caroline_appel@hcpss.org
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